Hans Kuijs Visual artist

curriculum vitae











Quote from: Hans Kuijs - A man who sailed around his soul 2006

Gallery Peninsula, Eindhoven. 5 t / m 29 April 2006 It constantly inflamed eye

"Your work is to discover your work and then with your heart and soul to give."

It constantly inflamed eye
Anno 2006 provide diverse phenomena as contemporary art, contemporary literature and authentic world music a serious, albeit scarce counterbalance to the hectic acceleration trend. Visual artist Hans Kuijs (Helmond, 1948) presents of 5 t / m 29 April 2006, with the abrasive exhibition entitled The constantly inflamed eye, compositionally seemingly simple watercolors, paintings and drawings at Galerie Peninsula in Eindhoven. The recent works are mostly made in 2005. Oil paintings as Compassion and fused with crown of thorns and the series of drawings and Dream Elements A question of time and space are created in the studio Leveroy. On large sheets of drawing paper in the series Dream Elements and a matter of time and space crosslinked he - in partial clearly defined areas - naked bodies, floating heads and torsos with animals, carts, masts, crosses, windows and ships. During a particularly fruitful artistic retreat in a monastery Wittem manufactures Hans Kuijs also a large series of multicolored surprisingly aspects of Christianity with exotic elements of Buddhism, Hinduism and Tantrism.

The time I have an open mind could believe
At the exhibition The constantly inflamed eye is a tonal artwork that time that I could believe uninhibited hot. A young, timid little bit young, standing in a washtub. He keeps, in turn, a small and fragile bird fixed. We are not looking at a gifted son of gods or a Don Juan in the shell, we see a bleue, timid boy, who has something old thing about him. This insecure kid in muted colors is closely related to the lonely, sensitive adolescents in the works of Chaim Soutine. Key question is whether we catch him at a conscious or accidental death pinching or caring cherish! We can him metaphorically bone, heartless and without compassion or even reject admonishing address. At the same time, we can sympathize with him and him - analogous to the (dead) bird - to our hearts. But there`s more. The sharp title in the I-form opens a third perspective: in terms of size, we are faced with a one on one self-portrait of the artist at a young age. Without hesitation, the artist in question us somewhat uncomfortable mirror: the embarrassed-looking face of the suffering subject is already caught between pudeur and sin, between guilt and punishment. Holy cow!
In another recent work, the canvas Compassion, return the bird back, but now clearly deceased form. It realistically painted, relatively colossal bird is effectively connected with a dark surface that famous non-figurative work of Malevich Kasemir from the last century brings to mind: the magic black square. Moreover, within the same framework an especially common in the Himalayas Physalis fruit depicted. Realism, constructivism and symbolism are playfully mixed. The young from the washtub is now nearly fifty years old and create visual homage a lived monument to a dead bird. Lord have mercy!

Seen eyes
In heartbreaking fashion sings Jimi Hendrix in the song Gypsy Eyes, can be found on the famous double album Electric Ladyland in 1968, on brief intense eye contact with a handsome, young gypsy, which he as he realizes afterwards, infatuated, "Well I realize , that I`ve been hypnotized, I love you Gypsy Eyes, I love you Gypsy Eyes ... "Hans Kuijs has a specific experience. In the Polish city Krakow, he meets with a friend a begging gypsy. The characteristic coal-black eyes of the young woman standing him years later still vivid. Almost ten years later he met in transit from New Delhi to the Himalayas in a small town in northern India once a young gypsy girl whose eyes are identical to those of the (much older) woman from Krakow. This special experience is the prelude to the highly varied series Watercolours titled Seen eyes. The nice and loose gepenseelde sheets are full of signs and symbols of Christianity as the Lamb, cross shapes and ships. At the same time we find the polychrome blades elements from other faiths and beliefs as Buddhism, Hinduism and Tantrism. The unmistakable universe of Hans Kuijs mix the all-seeing eye of God and the Lamb effortlessly with the creative forces of yoni and lingams or Hindu shades. Agreements and interweaving them more important here than the contradictions or differences. A powerful series that was born spontaneously, and not forcibly made.

A question of time and space
The series A question of time and space consisting of sheets of paper each measuring 102.5 x 92.5 cm.
With pencil, Hans Kuijs on some blades relatively large heads and other smaller, naked bodies in combination with a clock, wall art or blooming flowers (magnolia) depicted. Thus, including a colossal meditative head directly to Byzantine art or Russian - Orthodox icons seems to refer, which both eyes are turned inwards. In the oval, wide open mouth, which almost vaginal attract received, floats partly in proportion much smaller man. In the far distance there seems to be an agreement in scale with some late works of Francisco Goya. The series A matter of time and space without exception from narrative art which, parallel to the many storylines in the blockbuster Magnolia American director Paul Thomas Anderson, as stand alones but also as a whole can be seen.

Dream Elements
Since time immemorial, the human being is concerned with the mimic. With the optical (re) calls and mimicking what is observed. The cosmic, magical and erotic were always important drivers and pillars proved. In 2006 we know the mimic in many, often contradictory forms: from deforming and to idealize and demonize ironize and so forth. When I saw the series Dream Elements for the first time in the studio of Hans Kuijs in Leveroy saw, shot me a terse statement from Martin Buber to mind who once said: "You can not seeking God, because there is no place where he is not. "The Dream Elements series includes eight large sheets of paper, which measure 102.5 x 92.5 cm, which Hans Kuijs respectful opposing phenomena as fear, rejection, death, burden, guilt and loss and birth, security, hedonism, love, lust , tenderness and desire connects. The abject and suspect are à la  Félicien Rops and Alfred Kubin crosslinked with the lyrical and poetic. Christ crucified with his feet resting on a plastic signed vagina. Left and right of him hung the good and the evil killer in profile on masts of ships. The cycle of life and death here on original, and definitely not blasphemous or rellerige way depicts. This soulful version of Ropsiaanse Wharheit und Dichtung seems to Hans Kuijs baked.
Another sheet shows a smoothly drawn head to head on a small note is in the background with a work in which the work illusionist five ships. The water from the tub to when I was open-minded to believe has been transformed into a real port from which the world can be dangers. May the spirit of Eden forever be with you.

In the rare, parallel universe of Hans Kuijs be contrarian topics as birth, death, suffering and delight each time as naturally connected. The substantive complex performances are packed with intriguing and unorthodox symbolism and themes. The strange combinations and enigmatic juxtapositions, each Ocean front of his imagination wash, allow themselves, certainly at first sight, not easily identify. Hans Kuijs forces the viewer to contemplation, relax and associate. Figuratively one becomes, if one is open to it, in conversation with a man who sailed around his soul. AD allows one end, how could it be otherwise, face to face with himself.

Drs. Rick Vercauteren dir. Museum van Bommel van Dam. ©